Who knew that Civil War General Robert E. Lee‘s challenges and final retreat to Appomattox would weave brilliantly with a parallel story of a modern-day couple facing marital troubles? A one hundred and fifty year gap isn’t enough to break the tie between these two disparate parties stuck in a not-so-civil game of love and war as their futures hang in the balance.

Tickets available online at http://www.colonytheatre.org/cycleAppomattox.html or by calling 818-558-7000.

The Colony Theatre Company
555 North Third Street
Burbank, California 91502

*Patrons will be able to call and receive $10 Off using code LEE10 on the following days/tiers:

The new musical Breaking Through with book by Kirsten Guenther, and music and lyrics by Cliff Downs and Katie Kahanovitz, will have an industry presentation on Wednesday, November 5 at Carroll Studios in New York.

Theater with a Capital “T”

Listening to the excited whispering of industry people and fellow critics at the recent Los Angeles premiere of “Life Itself” at the Hollywood ArcLight, I realized how jaded I had become. As red carpets go, it was a modest affair…Read Full Article

Thursday, April 10, 2014

LEGIT BRIT: Theatre Review – A Song At Twilight

A Song At Twilight at Pasadena

Playhouse

Review by Catherine Siggins

04/10/2014

In A Song At Twilight, an aging writer, Sir Hugo Latymer, finds himself in danger of being outed as homosexual to the public and his wife of 20 years, Hilde Latymer, when his former lover, Carlotta Gray, threatens to hand over old love letters to a biographer for publication, which he wrote to his former male secretary, the one true love of his life, thereby destroying his reputation, his only support system, and endangering him with the law. There is to be a reckoning before time runs out for them both. The stakes are high…Read Full Review

PASADENA, CA (April 10, 2014) – The Pasadena Playhouse (Sheldon Epps, Artistic Director and Elizabeth Doran, Executive Director) announced today the planning and honorary gala committee members leading the best party in Pasadena annual fundraiser entitled PREMIERE GALA –TAKE THE LEAD AT THE PLAYHOUSE. The Pasadena Playhouse’s gala will be held on the stage of The Pasadena Playhouse on Sunday, May 4, 2014 at 5:30p.m.

Gala Committee Chair Teena Hostovich commented, “The Pasadena Playhouse is not only the official State Theatre of California, but it is the heart of the Pasadena and San Gabriel Valley arts and cultural community. Our Gala on May 4 “Take the Lead” will not only pay tribute to our rich history, but celebrate our incredible honorees – the Lythgoe Family – as well as our exciting present and future. My incredible planning committee, board members, staff and I sincerely hope that everyone will join us at Pasadena’s Party of the Year!”

This year’s event will celebrate dance and choreography at The Pasadena Playhouse and will honor the Playhouse’s great friends and partners the Lythgoe Family: Nigel Lythgoe, Bonnie Lythgoe, Simon Lythgoe, Kris Lythgoe, and Becky Lythgoe. The Playhouse Board of Directors, led by Committee Chair, Teena Hostovich, will be spearheading this red carpet gala event.

In his earliest days, family patriarch Nigel Lythgoe began as a dancer, eventually advancing the techniques of filming choreography, and creating and producing iconic dance and music shows like “American Idol” and “So You Think You Can Dance.” Family matriarch Bonnie Lythgoe also began her career as a dancer and choreographer, and now produces theater in London, Australia and the U.S. She annually directs Panto at The Playhouse each holiday season. Sons Simon and Kris continue the legacy of engaging audiences in the arts – Simon is a world-class television producer, and Kris, along with wife Becky, have made a major impact at The Pasadena Playhouse – producing mainstage Pantos that enrich young audiences and delight families.

The Pasadena Playhouse is renowned for its work creating new plays and musicals, many of which move on to Broadway, London, and beyond. The choreographers and dancers of The Pasadena Playhouse represent some of the greatest talent in the field, and The Playhouse is thrilled to celebrate their work on this magical night featuring scrumptious food, the best party in Pasadena, and a sampling of surprise performances.

Corporate, patron, underwriting and other sponsorship opportunities are available from $1,500 -$25,000.

Outlook Newspapers is a media sponsor of PREMIERE GALA –TAKE THE LEAD AT THE PLAYHOUSE.

For more information about PREMIERE GALA –TAKE THE LEAD AT THE PLAYHOUSE sponsorship or to buy tickets, please contact Julia Fitzgibbons in the Special Events Office at 626-204-7383 or jfitzgibbons@pasadenaplayhouse.org.

The Pasadena Playhouse has announced that Cole Porter’s Broadway musical Kiss Me, Kate will open the 2014–2015 season with a run from September 16-October 12. Artistic Director Sheldon Epps will helm the production…Read Full Article

Patricia Ward Kelly gives an inside scoop on what inspired her to bring this production to life. Launched in 2012 in celebration of the centennial of the birth of her husband Gene Kelly, “I expected everyone was going to do something, and I wanted to create something that represented him the way he wished to be remembered,” said Mrs. Kelly.

“This production is a very intimate look at the man as a creative artist, and a look at what drove and inspired him to create what he did,” said Kelly. “It’s a very personal and moving experience for me. Every time is different. I build a connection with the audience because they always bring something to every show, and I take just as much away because of what they bring to me.”… Read Full Article

PASADENA, CA (April 10, 2014) – The Pasadena Playhouse (Artistic Director Sheldon Epps and Executive Director Elizabeth Doran) announced that the Cole Porter Broadway musical KISS ME, KATE,directed by Epps, will open the 2014–2015 Season and run from September 16– October 12, 2014.

KISS ME, KATE represents the iconic composer-lyricist Cole Porter at his very best and includes some of musical theatre’s most famous songs: “So in Love,” “Another Op’nin’ Another Show,” “Too Darn Hot,” and “Brush Up Your Shakespeare.” It is without a doubt one of the great classics of the American musical theatre, celebrating Shakespeare (it describes a production of The Taming of the Shrew) and the joys, madness, and the rewards of working in the theatre – both onstage and off. The book is by Bella and Samuel Spewack.

The Pasadena Playhouse production will view the work through a new lens, using the wonderful material of this celebrated production to showcase the trailblazing African-American touring troupes of the early 20th century. Those groups of traveling players brought the work of the Bard not just to New York, but to theatres all over the country.

“I am thrilled to be adding Cole Porter’s great masterpiece, one of the true classics of the American musical theatre canon, to our upcoming season.” Said Epps. “There are so many things about this brilliant show that speak to the very heart of our theatre – love of the classics, great storytelling, and the genuine celebration of the joys of a life in the theatre. As the director, I am looking forward to bringing a fresh eye to this great material and to conceiving our production in a way which will make this fantastic musical completely at home on the stage of The Playhouse.”

Many of the most famous actors of our time owe much to those pioneers, who included Hattie McDaniel, Paul Robeson, Earle Hyman, Jane White, and Dorothy Van Engle. Those brave actors brought literal “color” to great classical roles, opened doors for others, and represent the high style and theatricality that have always been embodied in Porter’s masterpiece.

The season also includes the critically acclaimed STOP KISS (November 4–30, 2014) by Diana Son, William Gibson’s rarely produced TWO FOR THE SEESAW (January 27–February 22, 2015), a new production of George Bernard Shaw’s PYGMALION (March 17–April 12, 2015); and an Artistic Director’s Choice to be announced at a later date.

Panto at The Playhouse returns with Lythgoe Family Productions’ special musical twist on the classic tale SLEEPING BEAUTY (December 10, 2014–January 4, 2015),which will be the third production of the 2014–2015 Season.

Subscriptions for the 2014–2015 Season are now available for purchase. All renewing subscribers will receive priority access to their current seat locations and new subscribers will receive the best available seats within requested sections.

The Pasadena Playhouse is located at 39 South El Molino Avenue, Pasadena, CA 91101. To purchase subscriptions and to request information about subscriptions, current productions, and The Pasadena Playhouse, please visit www.PasadenaPlayhouse.org, call the Box Office at 626-356-7529, or visit the Box Office. The Box Office phone lines are open Monday-Friday from 12:00 noon-6:00 p.m., and Saturday and Sunday from 1:00 p.m.-6:00 p.m. on non-performance dates. For Box Office visits on non-performance dates, the Box Office windows are open Tuesday-Sunday from 1:00 p.m.-6:00 p.m. For Box Office visits on performance dates, the Box Office windows are open Tuesday-Saturday from 1:00 p.m.-8:00 p.m., and Sunday from 1:00 p.m.-7:00 p.m. Group subscriptions are also available.

# # #

The Pasadena Playhouse 2014–2015 Season features:

KISS ME, KATE (Production #1)

Music and Lyrics by Cole Porter

Book by Bella and Samuel Spewack

Directed by Sheldon Epps

September 16 – October 12, 2014

KISS ME, KATE represents the legendary Cole Porter at his very best. It is without a doubt one of the great classics of the American musical theatre, celebrating Shakespeare and the joys, madness, and the rewards of working in the theatre— – both onstage and off. The Pasadena Playhouse production will view the work through a new lens, – using the wonderful material of this celebrated production to showcase the trailblazing African- American touring troupes of the early 20th century. Those “groups of traveling players” that brought the work of the Bard not just to New York City, but to theatres all over the country. Many of the most famous actors of our time owe much to those pioneers, who included such as Hattie McDaniel, Paul Robeson, Earle Hyman, Jane White, and Dorothy Van Eangle. Those brave actors such as those brought literal “color” to great classical roles, opened doors for others, and represent the high style and theatricality that have always been embodied in Porter’s masterpiece.

STOP KISS (Production #2)

By Diana Son

Directed by Seema Sueko

November 4 – 30, 2014

STOP KISS features The Pasadena Playhouse’s Associate Artistic Director Seema Sueko as she makes her directorial debut at The Playhouse. Originally produced Off-Broadway at The Public Theater, with a cast including Sandra Oh and Jessica Hecht, this critically acclaimed play received the GLAAD Media Award for Best New York Production. In this drama, Sara and Callie take a walk through New York City’s West Village late at night when they share their first kiss. The two women are then viciously attacked and Sara is seriously injured. In a groundbreaking illustration of human emotion and compassion, Diana Son thoughtfully examines how we explore, form, and even end relationships.

SLEEPING BEAUTY (Production #3)

Panto at The Playhouse

By Kris Lythgoe

Directed by Bonnie Lythgoe

Produced in association with Lythgoe Family Productions

December 10, 2014 – January 4, 2015

In the style of the traditional British family Panto, Lythgoe Family Productions presents an updated holiday version of the well-known tale of SLEEPING BEAUTY, featuring family-friendly magic, a comedic twist, and contemporary music. A Panto’s interactive style and humor successfully appeal to fairytale fans of all ages. The Los Angeles Times says, “Those who have never been to a panto will have a glorious introduction to the forum.”

TWO FOR THE SEESAW (Production #4)

By William Gibson

Directed by Sheldon Epps

January 27 – February 22, 2015

Rarely produced, this celebrated American romantic comedy by William Gibson (The MiracleWorker,Golda’s Balcony) is bound for London in association with Nigel Lythgoe, Kris Lythgoe, and Becky Lythgoe. TWO FOR THE SEESAWwas Gibson’s first foray onto Broadway, and the original critically acclaimed production starred Henry Fonda and Anne Bancroft, who made her Broadway debut. In this unforgettable play, newly separated lawyer Jerry Ryan moves from Nebraska to New York and meets Gittel Mosca, a struggling dancer. As Jerry and Gittel begin to fall in love, they experience hardship as their differences in background and attitudes create challenges.

PYGMALION (Production #5)

By George Bernard Shaw

March 17 – April 12, 2015

In this fresh interpretation of PYGMALION, first presented on stage in 1912, phonetics professor Henry Higgins bets that after he finishes transforming Cockney flower girl Eliza Doolittle, her flawless speech and delicate façade will allow her to pass for a duchess at an ambassador’s garden party. This classic favorite perfectly skewers the rigid British class system and continues to serve as an insightful commentary on women’s independence.

ARTISTIC DIRECTOR’S CHOICE (Production #6)

To Be Announced

Last season’s presentation of the controversial production of Twelve Angry Men, cast with six black men and six white men, created heated debates amongst Playhouse theatregoers and the media. Artistic Director Sheldon Epps, who directed Twelve Angry Men, takes the opportunity to find the last production to add to his season’s mix. As demonstrated by previous ARTISTIC DIRECTOR’S CHOICE selections, such as One Night with Janis Joplin or Baby It’s You!, audiences are delighted by new and engaging theatrical experiences.

Please note: Production #6 of the Season will play June 2-28, 2015.

Full casting and creative teams for each production will be announced at later dates.

A Song at Twilight, LA

One of Noël Coward’s last works gets a proper, acerbic revival at Pasadena Playhouse.

The old adage — “never tell your best friend anything you wouldn’t want your worst enemy to know” — is the armature of Noel Coward’s “A Song At Twilight,” one of the last plays he wrote (1966) before his death in 1973.

What Sir Hugo Latymer (Bruce Davison), a writer of some unspecified but wide renown, doesn’t want anyone to know is that the person he loved most during his long life is not his former secretary and wife of 20 years, Hilde Latymer (Roxanne Hart), nor his pre-Hilde mistress of years ago, Carlotta Gray (Sharon Lawrence) — but another man, Perry Sheldon (unseen).

Sir Hugo fears that disclosure of his homosexuality will seriously damage his carefully crafted reputation as well as putting him at risk of trouble with the law, but that is precisely what Carlotta presents when she appears at the Latymers’ luxurious Swiss hotel suite and tells him of her plan to write her memoirs.

She seeks his permission to include material not only from his letters to her during their two-year-long dalliance but, more alarmingly, from his revealing letters to Perry. Turns out she has those letters, having obtained them from Perry himself before he died.

Enraged by her impending betrayal of his private life, Hugo’s fury is equal parts the recent Chilean magnitude 8.2 earthquake and the Mt. St. Helens volcanic eruption — so convincingly so that I found myself scanning the Playhouse’s exits just in case, you know, Mr. Davison goes about carrying concealed.

Hugo and Carlotta’s thrusts and parries about their long-ago relationship (he used her as a “beard” to hide his passion for Perry), her ridicule of his pretenses (“you were always as queer as a coot”), his disdain for her intellect and, of course, his letters to Perry, consume most of the play’s 90 minutes. There’s a bitter, acerbic tone to “Twilight,” one not normally found in his plays, but be assured Coward didn’t pass up opportunities to break the tension for an occasional, Noëlian zinger.

Why was Coward so hyper about being outed? While the play doesn’t specify its decade, it’s worth recalling that it wasn’t that long ago when The Closet was as jammed with writers, artists, musicians and celebrities as Black Friday shoppers in Macy’s. It has also been suggested he was perturbed when his friend and fellow gay author, W. Somerset Maugham, was confronted with the real-life dilemma of outing.

Davison, as mentioned above, is a marvelous Sir Hugo — ferocious one moment, forlorn the next. Lawrence’s Carlotta, beautiful and glamorous, is as cool and canny as a poker player holding four aces. Hart’s Hilde bookends the play, with a strong presence at the beginning, a long absence in the middle but a strong, very strong, closing.

There’s a fourth player, Zach Bandler, as the room service waiter, Felix, who pops in and out of the set like a Jack in the Box but isn’t given much to do except pop open Champagne bottles. Director Manke sets a brisk treadmill pace for these four performers and they’re equal to the task.

The set, by Tom Buderwitz, is so upscale that I thought at first it was the Latymers’ mansion. It wasn’t until Felix, he of the room service role, entered quickly and exited just as quickly for the fourth or fifth time that I caught on: it’s a five-star hotel. David Kay Mickelsen dressed the players as niftily as their personalities required.

Well, contrary to the adage I led with in this review, let me tell friends and foe alike that “A Song at Twilight” is very much worth seeing.

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